Installation shots from Boxers + Ballerinas at Rick Wester Fine Art in New York City





April 3 – May 31, 2014

"Both bodies of work are shadowgraphs: pictures of fleeting figures that confirm our desired voyeurism of talent, our need to witness greatness beyond the everyday, to examine without the distraction of speed, skill or amazement...In both cases, Goodman salvages them, rectifies them from their instant demise. These are photographs of mortals fortifying life..."
(Read full press release)

-Rick Wester

New York Review of Books / April 3, 2014
The Eye of Photography
Chelsea Now 

Rick Wester Fine Art
526 West 26th Street
New York, NY 10001


PhoPa Gallery
132 Washington Avenue
Portland, Maine

January 3 - February 22, 2014

View the exhibition press release here.

"This is no snatched kiss. It's an extraordinarily complex and well-composed photograph shot with the final print in mind. It is the soft white of her body against his chiseled dark form, the shape of the lovers' form on the sand, and the cacophony of textures and values that Goodman orchestrates into a symphony of formal brilliance." - Dan Kany, Maine Sunday Telegram



Caldbeck Gallery
12 Elm Street
Rockland, Maine

July 10 - August 10, 2013

Exhibition catalog, click here

"John Goodman's photographic prints are incomparably luscious. The idea of an aesthetic texture such as Goodman's exquisitely soupy grains is like brushwork. In some artist's begins with the smallest bits in their pictures – the brush strokes...." -Dan Kany, Maine Sunday Telegram





Howard Yezerski Gallery - Boston - solo exhibition
Scott Nichols Gallery - San Francisco - solo exhibition
Metropolitan Museum of Art - New York City - group exhibition
UMaine Bangor Museum of Art - Maine - solo exhibition

Set to the music of Stephane Wrembel's band
Live at Cliff Bells, Detroit, Michigan March 2013
Produced and directed by Jason Elon Goodman



Metropolitan Museum of Art
1000 Fifth Avenue 
New York City
March 27–September 9, 2012

Couple, 327 Commonwealth Avenue, Boston, June 1976 (image to left)

"I was walking up Commonwealth Avenue in Boston at the end of a warm day in June 1976. I heard music coming from an open second floor window and as I looked up I saw a nude couple. At the same time, they saw me with my camera and said "hey come on up" and I said "come on down." They did and I made this portrait."

-John Goodman

Roberta Smith's review in the New York Times of "Naked before the Camera"
Press Release, click here




UMaine Museum of Art
40 Harlow Street 
Bangor, ME

April 6- June 9, 2012

Exhibition images, click here

George Kinghorn's curatorial statement, click here

Peggy Roalf's interview with John in Design Arts Daily

Goodman's works drift between abstraction and reality; they are incomplete sentences in the artist's ongoing search for transcendent, yet inevitably fleeting moments. For this photographer, beauty lies within life's contradictions: power and grace, light and darkness, youth and old age, stillness and motion, the refined and the raw.


Howard Yezerski Gallery
460 Harrison Avenue 
Boston, MA
February 10 - April 17, 2012

Peggy Roalf's interview with John in Design Arts Daily
Exhibition images, click here
Press Release, click here

A constant in all Goodman's work is his connection to people and his ability to photograph them during the moments when they are most revealed. He captures the boxer lost in thought, the ballet dancer preparing for her moment onstage, a gospel singer in song, the couple who have playfully shed their clothes on a summer day to pose for his camera. Goodman's world is one in which oppositions become dualities-one can't exist without the other.




Scott Nichols Gallery
49 Geary Street
San Francisco, CA
March 1- April 28, 2012

A student of the influential abstract expressionist Minor White, John Goodman credits White with teaching him the difference between seeing and looking...Joyce Carol Oates offers, “Goodman’s camera, however, is not an instrument of detachment, analysis, or judgment, but an iris of an eye that is our own, dissolving ostensible barriers between objects and subject. His intention is to make us feel, and not merely see, the world of the Times Square Gym.”

View Exhibition, click here
Peggy Roalf's interview with John 
in Design Arts Daily 


Voyeurism, Surveillance And The Camera Since 1870

San Francisco, CA 

October 30, 2010 - April 17, 2011

Exposed offers a fascinating look at pictures made on the sly, without the explicit permission of the people depicted. With photographs from the late nineteenth century to present day, the pictures present a shocking, illuminating and witty perspective on iconic and taboo subjects. 

Online exhibition here 

Cindy Wright's "Power and the Photograph: an essay"




Howard Yezerski Gallery
460 Harrison Avenue
Boston, MA
February 12 - March 16, 2010

[Goodman's "The Schlitz Boys"] photograph shows a carload of young men carbuncular with a couple of six packs. They're ready for some action. The animal rictus on the face of the blond guy in the backseat is way beyond Arbus. It's like something shot by a war photographer, only there's no war going on. There is a transaction going on, though, or at least the anticipation of one. In the business of sex, as in any other kind, a supply side can't exist without a demand side.

-Mark Feeney, The Boston Globe, March 7, 2010

WBUR Radio Boston review
Mark Feeney's Boston Globe review
Greg Cook's Boston Phoenix review
Cindy Wright's "Power and the Photograph: an essay"



Howard Yezerski Gallery
460 Harrison Avenue
Boston, MA
February 10th - March 11th 2008

"Most of Goodman's photos move, suggesting a speedy ride through the country...But it's those pauses that give the show its expressive rhythm." 

- excerpt from Cate McQuaid's Boston Globe review




Boxers and Ballerinas
Center for Maine Contemporary Art
Rockport, Maine
September 8th  - October 22, 2005

"What Goodman captures visually for our contemplation speaks to the character of Goodman himself. Contemplative, ever-searching, and questioning intentions and meaning on the one hand, the photographer is also the expansive teacher and friend, trigger-quick to speak and act in a blur of boundless enthusiasm and wit."

-excerpt from Bruce Brown's curatorial statement



The Art Institute of Boston at Lesley University
Boston, MA

September 9 – October 31, 2004 

"...for John Goodman the gesture is the equivalent of the human voice. Hands abound in his images-fretful, poised, world-weary, guarded-and in their shape, in the kind and amount of tension they carry, we come to know the person to whom they're connected. Goodman makes us the reader of human signs. 

Throughout his career, John Goodman has invited contradictions. His photography marries the tumult of personality with the symmetry of design, the visceral with the deliberate, guts with formality. By embracing these contradictions he has given us a body of work that compels us to see."

excerpt from Christopher Millis's exhibition catalog essay

Bonnell Robinson's Curatorial Statement
Big Red & Shiny's Review 
Christopher Millis's Essay




June Bateman Fine Art
560 Broadway, Soho, NY

April 22 – June 5, 2004 

"Goodman over-uses blur and jarring out-of-register effects, but his results are often so moody, sexy and intriguing that you don't mind. Although his best shots here are of street and beach scenes in Havana, a number of fragmented portraits--hands, eyes, a neck, a torso, a gesture--make us curious to see what comes next. June Bateman Gallery, 560 Broadway."

-Vince Aletti, Village Voice